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Left - Blue tinted sweatshirt by Jag.
Dark blue denims by Compliments.
Right - Blue, striped cotton shirt and
Beige pleated pants. All available at
Bivouac.
Aqua cotton jacket by Liz
Claiborne. Red cotton sweater
and white pleated walking
shorts. All from Crowley's
Famil
photos
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Darcy Drew Greene: Now S Then
Blixt Gallery
229 Nickels Arcade
March 25-April 30
By Deborah Lewis
O NE HAS TO ADMIRE the Blixt
Gallery. It is a thriving establish-
ment while exhibiting but a single art
medium - photography. Though
photography as a fine art has been ac-
cepted in ever-widening circles in
recent decades, there is a surprisingly
low number of pure photography
galleries.
In just the past year, Blixt has
brought the Ann Arbor area top-notch
exhibits such as Free Press
photographer David Turnley's
documentation of a dyingcommunity in
"Poletown" and Lucien Clerque's
"Nudes" and "Picasso Portraits.,
Both of these shows come to mind as
being particularly captivating,
possessing both personal and universal
appeal.
Unfortunately, Darcy Drew Greene's
"Now and Then" exhibition, showing
March 25 thru April 30, hits the veiwer
neither in the head nor the heart-
Greene's juxtaposition of past and
present is a transient vision which is
poignantly personal, often interesting,
but contains the inherent emotional and
cerebral depth of a petrie dish.
Greene presents her efforts matted in
pairs. One smaller print represents a
past instance, entitled "Then," and the
larger photo depicts "Now." The
exhibitors, however, failed to edit out
Greene's more mediocre work. The
show covets a few treasures, while the
majority chip away at the intended ef-
feet. Blixt's press release states that
Greene's "attempt to recapture or
recreate can be rewarding or bitter-
sweet - change is inherent in the
nature of all things." The majority of
the show fails to display such a change.
"The Trolley Car" is one of the
exhibit's most touching works. The
smaller photograph of the set shows a
young man on a night train, passively
staring into the camera, his head tilted
to one side like a toy dog in the back
window of a Nova. From 1976 to 1982
this fellow becomes a father of two. The
larger picture has the kids on his lap,
each looking in a different direction;
the father, as well, gazes out to the sun-
ny cityscape. The change is from
resigned desolation in New York to a
brighter, prouder environment in
Boston six years later. This is one of the
most inspiring works in what I call
Greene's show-em-without-kids-then-
with-em series.
Another fine example in this category
is "The Bisses." 1976: A young couple is
hugging in the sunshine as if they
hadn't a care in the world. In the com-
plementary shot, the updated couple
along with their two children huddle
together for shelter against the rain.
They still don't look worried. The
mother's forehead is crinkled, her eyes
are almost as wide as her smile. What
tightens the shot is the daughter under
the umbrella, vigilantly wiping tears
from her face.
It is all well and good to see that the
Bisses, like many other couples in the
exhibit, have produced offspring. Any
well-maintained family album will
display the same sort of reproduction
and growth that Greene's work
conveys; she fails to let the nonplussed
viewer in on the significance of "Now
and Then."
"Two Cousins" shows two young girls
first sitting atop luggage under an exit
sign in Dublin, Ireland, then riding
their banana-seat bikes in a Chicago
alley four years later. The girls move
through time and country while main-
taining their pastimes. This tops the
some-things-stay-the-same series.
"The Breakfast" shows a husband/
father reading a newspaper at the same
breakfast table in both 1976 and 1982. In
both photographs the people around
him are blurred while he remains static
behind the news.
Another stand-out is "Grandma
Greene and Christina," a successful
documentation of the relationship bet-
ween a grandmother and grandchild at
the beach and later at the young
woman's confirmation.
As a whole, however, "Now and
Then" is a dull show. Greene's style is
on an adamantly personal level that
could be - but isn't - augmented by an
element of common appeal and under-
standing.
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White, cotton shirt and faded
jeans by Closed. Denim vest
. with snaps by Dweedo. All
from Bivouac.
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Sweater and blue cotton pants.
All from J. Riggins.
8 Weekend/April 8,1983
Now and Then: The Trolley Car
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